100 Nights of Hero Film Softens the Bold Twist of the Original Comic’s Fairy Tale

Isabel Greenberg’s 2016 graphic novel, *The One Hundred Nights of Hero*, embodies everything a queer, feminist fairy tale should be: sharp, insightful, and unapologetic in its storytelling that shines a light on the prejudice and oppression faced by women throughout history. While Greenberg serves as an executive producer for the film adaptation directed by Julia Jackman, featuring Maika Monroe as Cherry and Emma Corrin as Hero, the movie struggles to capture the same spirit. Although it retains some of the whimsical charm from the graphic novel, it feels overly polished and less impactful.

Set in a loosely defined medieval England, the story introduces us to a world where gods are actively involved. The tyrannical Birdman (voiced by Richard E. Grant) demands worship from the humans created by his daughter, Kiddo (Safia Oakley-Green). He quickly establishes the Beaked Brothers, a powerful, all-male religious order that enforces heteronormative and patriarchal ideals while controlling women.

Fast forward centuries, and we meet young bride Cherry and her husband Jerome (Amir El-Masry). The Beaked Brothers give them a dire ultimatum: Jerome has 100 nights to get Cherry pregnant, or she will be executed. Jerome’s attractive friend Manfred (Nicholas Galitzine) offers to help, leading to a twisted wager: Jerome gives Manfred 100 nights to seduce Cherry. If he fails, he must find another woman to impregnate and give the baby to Jerome, as Cherry will be dead. If Manfred succeeds, he gets Jerome’s castle—and Cherry’s life is forfeit. Either way, Cherry’s fate is grim.

Luckily, Cherry has her maid and best friend Hero by her side. Hero is a master storyteller, a vital skill in a world where women are forbidden from reading or writing. Together, they devise a plan to fend off Manfred’s advances and protect Cherry from the men plotting against her.

Jackman effectively portrays storytelling as a form of resistance, showcasing women—especially those outside the typical narrative—sharing their own stories in defiance of a society that seeks to silence them. This theme resonates strongly in a world increasingly reliant on AI, which often spreads misinformation instead of encouraging genuine creativity. For the women in *100 Nights of Hero*, preserving oral traditions is not just about knowledge; it’s about reclaiming their narratives from a culture that vilifies them. The film’s feminist core makes Jackman’s sanitization of the graphic novel’s more explicit themes particularly frustrating.

Adaptations often come with changes, and while some may not resonate with everyone, Jackman navigates certain alterations with a degree of finesse. For instance, Cherry and Hero do not start as lovers, allowing for a slow-burn romance that highlights their chemistry. However, in a tight 90-minute runtime, this setup feels like a missed opportunity to delve into the homophobia and sexual violence that the graphic novel’s established queer couple faces through Manfred’s advances. In a time when LGBTQ+ rights are under threat, focusing on the joy of queer love is understandable, even if it comes at the expense of deeper themes.

Some changes, however, feel disingenuous. Manfred’s character, for example, is significantly softened in the film. In the graphic novel, he is an older predator who threatens Cherry with violence if she doesn’t comply with his desires, showcasing the irrationality and self-serving nature of bigotry and sexism. The film, however, presents him as someone who genuinely cares for Cherry, diluting the character’s menace. While adding depth to characters can be beneficial, transforming the graphic novel’s antagonist into a sympathetic figure seems like a concession to mainstream sensibilities, which is puzzling given Galitzine’s history of playing unlikable characters.

Cherry’s portrayal also shifts. In the comic, her innocence is a strategic façade that she and Hero use to manipulate Manfred. They engage in a game of wits, drawing inspiration from Scheherazade in *The Thousand and One Nights*. In Jackman’s version, Cherry is portrayed as genuinely naïve, requiring Hero to guide her through storytelling. While this change isn’t inherently negative, it risks oversimplifying Cherry’s character, especially in a world where women are often underestimated.

In the graphic novel, Cherry finds empowerment in her public persona, using it to navigate a harsh reality. Jackman’s adaptation, by softening Cherry’s character, seems to shy away from any hint of unsavory behavior, inadvertently making her less compelling.

With a story as pro-queer and pro-woman as *The One Hundred Nights of Hero*, the transition to a more mainstream film was bound to encounter challenges. The impressive cast, including notable actors, adds star power, but it doesn’t fully compensate for the ways Jackman’s adaptation undermines its source material. While Greenberg’s work boldly addresses the struggles of women in a patriarchal society, Jackman’s film often feels apologetic, toning down the more brutal elements of the original narrative at a time when women’s voices should be amplified.

*100 Nights of Hero* is currently in theaters.